Hiroshima Peace Memorial Park : an architectural consignation

Like many major urban developments designed by modernist architects. Kenzo Tange's Hiroshima Peace Memorial Park is considered by some to be founded upon tabula rasa- a blank site and/or architectural approach unconstrained by historic and aesthetic precedents. Tabula rasa is associated with a tendency to 'forget' or repress the past in order to opportunistically move on with the future. Constructed near 'ground zero' - on the site of just part of the established urban environment obliterated by the atomic bombing of Hiroshima on 6 August 1945- the tabula rasa here, however, is not achieved simply due to a conscious or critical urban design decision to move away from past urban forms and practices but through an unforseen trauma. This paper questions the application of an unqualified label of tabula rasa to Tange's Hiroshima Peace Memorial Park. Focusing on Tange's writing about the Peace Park - a 1954 article entitled "Hiroshima Plan 1946-1953" in particular - and reflecting on the repeated architectural returns of Kenzo Tange and Associates to the site, this paper raises Freud's "Mystic Writing Pad" as an alternative model. It argues for a more complex consideration of the memory-work of Tange's written practice and the light it may bring to a reconsideration of this foundational architectural project within his oeuvre.

Kenzo Tange's forgotten master plan for the reconstruction of Skopje

After the 1963 earthquake, which is said to have destroyed seventy-five per cent of the urban fabric, Skopje, capital city of the Republic of Macedonia (then in Yugoslavia) became a centre of architectural activity. The United Nations held a limited competition for the reconstruction of Skopje, inviting four foreign firms and four Yugoslavian firms to participate. Tange's submission received sixty per cent of the first prize, co-operating with Yugoslav architects to develop the design idea. What can this project tell us about modernism re-inscribed in Japan, and the kinds of internationalism that the United Nations constructed? Japanese Metabolism, of which Tange was a pioneer, heralded Japan as a new centre for innovation in architecture; a new nationalism re-oriented the suffering after Hiroshima and Nagasaki. Tange developed and realised in Skopje the striking planning ideas he began in his Tokyo Bay proposal. This article examines Tange's master plan for Skopje. It argues that his key elements, the City Wall and the City Gate, exemplify Tange's drive for a new vision in the context of destruction, and that these remain definitive elements today even in the context of a messy transition from a communist to a capitalist society.

Australia and the nuclear non-proliferation treaty, 1945–1974

This volume in the Documents on Australian Foreign Policy series draws on unpublished records from the National Archives of Australia to document the negotiation of the Nuclear Non-Proliferation Treaty (NPT) from an Australian perspective. Commencing with early post-war efforts to control nuclear energy following the dropping of atomic bombs on Hiroshima and Nagasaki, the volumes traces Australia’s changing attitude to the issue of nuclear arms control and disarmament during the Cold War years of the 1950s and 1960s and its ambiguous approach to the acquisition of nuclear weapons in the subsequent negotiation of the NPT. Signed by the Gorton government in 1970 after considerable debate in the policymaking community in Canberra, the treaty was ratified by the Whitlam government in 1973 and has since formed a fundamental plank in Australian attitudes and policies towards international efforts to reduce and eventually eliminate nuclear weapons.

Give back peace that will never end: Hibakusha poets as public intellectuals

US censorship of public discussion of the bombings during the Allied Occupation of Japan ensured that the Japanese public knew little about the human consequences of the atomic bombing of Hiroshima and Nagasaki. When hibakusha poets seek a public audience for their poetry, their experiences make them potentially powerful public intellectuals. As Noam Chomsky has observed, the most effective public intellectuals are dissidents who act from the margins. Tōge Sankichi and Kurihara Sadako became activists and their poetry offers a powerful and rousing response to the atomic bombing and lobbies for nuclear disarmament. The simplicity and accessibility of these poems is essential to the public dissemination of their message and Kurihara’s and Tōge’s identification as public intellectuals. This article examines the ways in which hibakusha poets can be recognised as public intellectuals when they seek public audiences for their work. Discussion hinges on a number of considerations centred on public intellectualism, trauma and the uses of language.

'Give back the human': poetic collaboration and hibakusha poems

Testimonies are viewed as essential for recording the experience of atomic warfare. However, hibakusha Keiko Ogura expresses the need for something more than recording and translating these testimonies. She highlights the need for an understanding of the hibakusha experience through a form of virtual collaboration with hibakusha and their stories. Ogura states that this is best achieved via ‘literature, art and poetry’ (Ogura 2015: n.pag.).This paper discusses why and how we speak about the atomic bomb and argues that virtual collaboration with hibakusha, by writing poetry based on their experiences and publishing it online, encourages empathy and keeps the experience alive for future generations. This paper uses Brandon Shimoda’s curated issue—entitled ‘Hiroshima/Nagasaki’—of Evening Will Come, a monthly online journal of poetics, as a case study.